Performed here by the Scandinavian Symphony Orchestra of Detroit (SSO). The SSO is a "community orchestra." Its musicians are non paid volunteers who meet to rehearse for two hours one evening a week.
The Scandinavian Symphony Women's Organization routinely raised funds to support the orchestra and groups from the 160 membership generously gave of their time to serve refreshments to the orchestra members during their rehearsal break periods. This short break made it possible for musicians to share their interests with others from the metropolitan Detroit area. The SSO's history of successive uninterrupted seasons stretched well over 50 years.
William Savola held the post of Conductor for 7 years. The orchestra's repertoire expanded rapidly under the direction of Savola. The musicians were pleased to come to rehearsals and dedicated to give their best efforts often to difficult works. Rehearsals were conducted as "performances."
William Savola's rehearsals and performances may best be described by his recognition of a conductor's responsibility as follows:
Conduct the music, not the orchestra.
Every composition is unique, therefore applying one's "style" of conducting to several compositions is in fact not communicating the essence of the interpreter's purpose, namely to give an unique performance. An orchestra of 90 has an equivalent number of opinions as to how the piece ought to sound. In fact, once a tempo is set, the ensemble can play the piece to a certain extent without a conductor, thereby presenting a summary of ideas. This may well be acceptable to an audience.
An unique performance is one in which the conductor earns the respect and trust of his musicians. Good communication wins the minds of players by empathy to the moods set by the conductor. The conductor must have his final "performance" clearly in mind. Every rehearsal then becomes "a performance." Set aside talking. "Conduct the music." The conductor's self control is essential in order to efficiently project his understandings and creativity. Gestures other than those directly related to "mood" have no purpose other than "theater." Mood is best communicated through empathy. Performers will respond in mirror image by empathy to effective non verbal communication. "Mood" is the essential element of music and is best expressed through the eyes, facial expression and body language. Words by themselves carry little meaning where international language barriers exist. The intonation of the spoken word when combined with the forenamed basic elements of communication, project feelings and therefore are essential to efficient and meaningful communication. In music, the occasional mistake in performance can be forgiven. The mood and spirit conveyed by the conductor to his musicians (not to the audience), is what makes the "performance" unique and perhaps even great. Absent mood and spirit, you have routine.
Effective conducting has powerful subconscious effects on musician colleagues. Treat each rehearsal as "the performance." Conducting "the music" influences the very breathing of the chorus and wind instrument players. String players adjust their bowing technique. Percussionists select appropriate mallets in order to respond to a suggested "mood." Experienced performers need not be told verbally. If the conductor is not satisfied with the group's response, he might consider analyzing what he's doing and thus learn what his players see from their perspective. I suggest he stand in front of a mirror and conduct the music from memory. What he sees in the mirror must have a meaningful relationship to the music he is hearing internally.
I encourage the reader of this article to view on television a performance of a familiar four movement symphony. Turn off the sound. Ask yourself: "What movement is being played at 10, 15, 20 minute intervals within the score?" Locate the measures in your miniature score. Can you find where the conductor is in his score? Is he conducting "the music?" Is he conducting the orchestra, beating time or entertaining the audience?
William Savola's work with non salaried "community orchestras" in North America has been significant. His work with professional orchestras has been limited. He has traveled widely in North and South America, Africa, Europe, in the Middle East and Asia and has conducted national orchestras on four continents. William Savola welcomes your comments regarding the subject of this article. He welcomes an invitation to guest conduct in your community and will travel anywhere to "Conduct the music."
YouTube.com/user/williamsavola
E-mail: wisavola@hotmail.com
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Rimsky-Korsakov "Scheherazade" / "シェエラザード" 全曲（指揮映像）by HoshinaMusicFeatured Video63,704 views
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